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A Reminder:  Through the decades the intellectual property rights of Hopi have been violated for the benefit of many other, non-Hopi people that has proven to be detrimental. Expropriation comes in many forms. For example, numerous stories told to strangers have been published in books without the storytellers' permission. After non- Hopis saw ceremonial dances, tape recorded copies of music were sold to outside sources…Although the Hopi believe the ceremonies are intended for the benefit of all people, they also believe benefits only result when ceremonies are properly performed and protected. Hopi Cultural Preservation Office. “Intellectual Property Rights” http://www.nau.edu/~hcpo-p/intellectPropRights.html. Web. 12/6/10.http://www.nau.edu/~hcpo-p/intellectPropRights.html

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Traditional Knowledge  Traditional Knowledge (TK): An expression of cultural identity and knowledge tradition of indigenous and local communities.  Can be ecological, environmental, agricultural or biological  Often attached to spiritual or cultural legal systems and forms part of the culture’s worldview  “TK also has a strong practical components, since it is often developed in part as an intellectual response to the necessities of life.” WIPO, Intellectual Property and Traditional Knowledge. WIPO, WIPO Publication No. 920(E)

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Taxonomy of Traditional Knowledge Traditional KnowledgeContemporaryNon-Contemporary Tangible(1) Neem packaged as tooth paste (2) Neem twig for dental care Intangible(3) Neem for calcium absorption in mammalian bone tissue (4) Neem as anti-septic (1)Patentable if synthesized or changed in significant way (2)Public Domain (3)Patentable (perhaps under trade secrets (4)Patentable but only if changed significantly, but costs may be prohibitavely high and may be better to be shared in the Commons. Mathur, Ajeet. “Who Owns Traditional Knowledge?”, Indian Council for Research on International Economic Relations, New Delhi. January, 2003.

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Traditional Cultural Expressions  Traditional Cultural Expression (TCEs): means of which TK is passed down in forms like songs, chants, narrative tales, and designs.  Products of inter-generational and fluid social/communal creative processes  Usually handed down inter-generationally orally or through imitation, they reflect cultural and social identity, they consist of elements of cultural heritage, are made by communities or by individuals recognized as having the right or permission to create them, they are not inherently commercial in nature, and they are constantly evolving, developing and being recreated within the community  Also known as Expressions of Folklore (EoF)

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FUN WITH LATIN!  Sui Generis: “of its own kind”/unique in characteristics  In IP Law these systems extend IP-type protection to works not clearly defined in traditional law definitions. (TCEs/TK)  Mutatis Mutandis: “by changing those things which need to be changed”  Law may be international and then apply, mutatis mutandis, on a national level.

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Defensive Protection  Defensive Protection: is “a set of strategies to ensure that third parties do not gain illegitimate or unfounded IP rights over traditional knowledge/traditional cultural expression subject matter and related genetic resources.”  Two Major Aspects  Legal: How to ensure that the criteria defining relevant prior art apply to the traditional knowledge  Practical: How to ensure that the traditional knowledge is actually available to search authorities and patent examiners, and is readily accessible. WIPO/GRTKF/IC/17/INF/13, pg 6.

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Traditional Knowledge Digital Library  A good example of Defensive Protection.  US: 130 yoga-related patents, 150 copyrights and 2,300 trademarks (2009)  Project by India to create a database documenting various poses and scanned ancient texts in order to register each pose as part of India’s cultural heritage  Framed in a language that is easily readable for patent researchers but also is a digital repository of ancient texts in an attempt to define relevant prior art

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Positive Protection  Positive Protection: The creation of positive rights in traditional knowledge that empower traditional knowledge holders to protect and promote their traditional knowledge  This involves working with international and national laws to create sui generis or other systems to give TK/TCE holders a path for legal recourse. http://www.wipo.int/tk/en/tk/

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Archives and TK  Due to perception of antiquity TCEs are often considered public domain under conventional IP law.  No agreed upon definition of public domain, although World Intellectual Property Organization (WIPO) defines it as “the scope of those works and objects of related rights that can be used and exploited by everyone without authorization, and without the obligation to pay remuneration to the owners of copyright and related rights concerned- as a rule because of the expiry of their term of protection or due to the absence of an international treaty ensuring protection for them in the given country.” WIPO “Guide to the Copyright and Related Rights Treaties Administered by WIPO and glossary of copyright and related rights terms”, pg. 305.

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Archives and TK 2  Concern here is that rights to these materials, including sensitive and spiritual expression not meant for public access, is usually owned by researchers who recorded the material that archives hold.  Western concept especially in countries that practice more liberal democratic philosophies. “Free access to information, in other words, is seen as a cornerstone of democracy and a key element of open societies.”  Indigenous peoples however often have a different attitude toward access, and “the social fabric of native nations often consists of reciprocal spheres of knowledge, the boundaries of which are zealously protected.” Brown, Michael F. “Cultural Records in Question: Information and Its Moral Dilemmas” CRM (Cultural Resource Management) 21 (6): 18-20.

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Derrida!  By consignation, we do not only mean, in the ordinary sense of the word, the act of assigning residence or of entrusting so as to put into reserve (to consign, to deposit), in a place and on a substrate, but here the act of consigning through gathering together signs… Consignation aims to coordinate a single corpus, in a system or synchrony in which all the elements articulate the unity of an ideal configuration. In the archive, there should not be any absolute dissociation, any heterogeneity or secret which could separate (secernere), or partition in an absolute manner. Derrida, Jaques. Archive Fever. University of Chicago Press, Chicago. 1998. pg 3.

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Berne Convention  Beginning of Positive Protection  Diplomatic Conference in Stockholm for the revision of the Berne Convention for the Protection of Literary and Artistic Works in 1967  Article15(4)(a): unpublished work where the identity of the author is unknown, but where there is every ground to presume that he is a national of a country of the Union, it shall be a matter for legislation in that country to designate the competent authority who shall represent the author and shall be entitled to protect and enforce his rights in the countries of the Union. http://www.law.cornell.edu/treaties/berne/15.html

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It’s a start! But…  Woefully inadequate as it allows the state to claim responsibility for works and the language used is vague and undefined, and could easily be exploited  The heart of many of these problems is the attempt at embedding traditional cultural expressions within western intellectual property law, which are concerned with originality, fixation, finite duration and individual creators many of which are elements not found within folklore. Often sui generis systems are the only way to protect these expressions.

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Tunis Model Law  When the Berne Convention was revised in 1971 it was “deemed appropriate to provide States with a text of a model law to assist States in conforming to the Convention’s rules in their natural laws.” So the Committee of Governmental Experts adopted the Tunis Model Law with the assistance of WIPO and United Nations Educational, Scientific and Cultural Organization (UNESCO), which provides specific sui generis protection for folklore.  Tunis Model Law on Copyright for Developing Countries 1976 WIPO/GRTKF/IC/5/3 para 71

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Tunis Model Law  Purpose: To prevent any improper exploitation and to permit adequate protection of the cultural heritage known as folklore which constitutes not only a potential for economic expansion, but also a cultural legacy intimately bound up with the individual character of the community  Provides sui generis protection to folklore but allows derivative works to attain copyright.  Fixation is not required, nor is originality although criteria for specifying this are not given.  A competent authority exercises the holder of rights WIPO/GRTKF/IC/5/INF/3 annex pg 1.

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Competent Authority  one or more bodies, each consisting of one or more persons appointed by the Government for the purpose of exercising jurisdiction under the provisions of this Law whenever any matter requires to be determined by such authority.  The key here is Government (and not necessarily tribal). Could be used to exploit the system on a national level.

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Tunis Model Law  Section 6 gives folklore author rights of economy (reproduction, derivation and translation, and broadcasting) as well as the moral right to claim authorship of his work and to seek legal relief should derogatory of prejudicial action occur.  Rights here do not apply when folklore is used by a public entity for non-profit use  Adds a domain public payant system so users of folklore can pay a percentage of profits to the competent authority for the purposes of promoting institutions for the benefit of authors (including guilds, cooperatives and the like) or to protect and disseminate folklore.  Importation of protected works constitutes infringement and can be seized. The infringer is liable for damages and can be fined or imprisoned and any violation of national cultural heritage will be stopped using any available means. These rights are granted without temporal limitation.

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Model Provisions  1982 WIPO-UNESCO Model Provisions for National Laws on the Protection of Expressions of Folklore Against Exploitation and Other Prejudicial Actions  Purpose: EoF being living cultural heritage of nations, being exploited through dissemination and this exploitation (or distortion) is prejudicial to cultural and economic interests of the nation.  Folklore, as a manifestation of intellectual creativity, deserves to be protected in a similar manner that intellectual property.  Protection of folklore is also an indispensible tool for developing nations to promote development, maintenance and dissemination of their heritage outside of the country.

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 The source of the expression must also be acknowledged properly (including geographic place and community where it was taken) in any print or public performances  This is hugely important, as it is the beginning of protecting traditional cultural expressions with special spiritual or cultural importance (secret dances for instance) from being disseminated out of context.  However, this is undermined because no authorization is required for education, utilization by way of illustration in an original work, incidental usage, or where expressions of folklore are borrowed for creation of an original work.

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Model Provisions  Defines regional and international protection as subject to reciprocity and on the basis of international treaties or agreements.  The sui generis aspect of the Model Provisions has allowed several countries to use them as a basis for national legal frameworks in the protection of folklore or even within current frameworks. Model Provisions Section 14.

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Attempt at International Treaty  WIPO and UNESCO convened a group to attempt to do just this but most participants thought it was premature to take such actions as “there was not sufficient experience available as regards the protection of expressions of folklore at the national level, in particular, concerning the implementation of the Model Provisions.” WIPO/GRTKF/IC/5/3 para. 78

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WIPO Performances and Phonograms Treaty  December of 1996, gave protection to the performer of an EoF including actors, singers, musicians, dancers and other persons who take part in the performance or interpretation of TCEs  Treaty came into force on May 20, 2002, and by April 15, 2003 41 WIPO states had ratified it.  Previously the International Convention for the Protection of Performers, the Producers of Phonograms and Broadcasting Organizations, 1961 (the Rome Convention) had defined performers to mean “actors, singers, musicians, dancers, and other persons who act, sing, deliver, declaim, play in or otherwise perform literary or artistic works.” WIPO/GRTKF/IC/5/3 para. 80.

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WIPO-IGC  In late 2000 the member states of WIPO established an Intergovernmental Committee on Intellectual Property and Genetic Resources, Traditional Knowledge and Folklore (IGC)  They are currently holding their 17 th meeting (December 6- 10, 2010) and continue to work on their draft proposals on TCEs/EoF, TK, and Genetic Resources.  In attempting to define the needs and expressions at stake they are looking to the Model Provisions as well as the Pacific Regional Framework for the Protection of Traditional Knowledge and Expressions of Culture (Pacific Model Law), a sui generis system created in 2002.

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Pacific Model Law  Purpose: to protect the rights of traditional owners in both TK and TCE, and permit tradition-based creativity and innovation including commercialization.  This commercialization is subject to prior informed consent  where traditional knowledge holders are fully consulted before their knowledge is used or accessed and the intended use and its consequences are understood  as well as equitable benefit-sharing  where traditional knowledge holders would receive benefits that arise from the use of their knowledge either through monetary or non-monetary means, are taken into account within any system.

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Pacific Model Law  The definition of traditional subject matter here is also defined as anything “ (i) created, acquired or inspired for traditional economic, spiritual, ritual, narrative, decorative or recreational purposes; (ii) transmitted from generation to generation; (iii) regarded as pertaining to a particular traditional group, clan, or community of people; and (iv) is collectively originated and held.” Pacific Model Law. Section 4.

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Pacific Model Law  Defining the owners of traditional knowledge and traditional expressions of culture to be the group, clan, or community (or an individual recognized as part of the group) in which the knowledge are entrusted “in accordance with customary law and practices.”  Tunis Model Law placed the ownership merely onto a competent authority. This could allow people to claim ownership regardless of their place or status within the community. The Pacific Model Law places ownership directly to the community and most importantly within said community’s traditional law and practice Pacific Model Law. Section 4.

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Pacific Model Law  Modernizes the traditional cultural rights (held by the community) to allow authorization or prohibition on the rights to reproduce, publish, perform or display in public, to broadcast (by radio, television, satellite, cable or any other means) to the public, to translate or adapt, to transform or modify, to fixate the knowledge (through film, sound recording or photography), to make derivate works, to make available online, to make or sell (import or export) products derived from traditional knowledge, and finally to make use of TK in other material form.  The fixation aspect and the electronic aspect here are especially important to archives, as well as display in public, as most expressions of traditional culture in archives are fixed objects that under traditional intellectual property law are copyrighted by the researcher.

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Pacific Model Law Fair Use  Includes face-to-face teaching, criticism or review, reporting news or current events, judicial proceedings, and incidental use, although acknowledgement is needed in these cases.

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Pacific Model Law  Sets Cultural Authority that must approve the applications, as well as setting out clear terms and conditions that should be part of the authorized user agreement.  This includes equitable benefits sharing, respect for moral rights of the traditional owners, and interestingly education and training requirements for the applicant.  That the user agreement allows the Cultural Authority to set education conditions on the user is a brilliant move to make sure that the knowledge is not used in a derogatory way even accidentally. It also creates a cultural exchange situation whenever a request for traditional cultural expressions is put forth.  It allows them to protect their moral rights and traditional cultural rights which are guaranteed to continue in force in perpetuity, are inalienable, and cannot be waived or transferred

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Finished!  As these sui generis systems are clarified “their adoption nationally and/or internationally, mutatis mutandis, would reduce transactions costs of patent protection and also mitigate some degree of uncertainty and risks…” While Mathur here is talking specifically about genetic resources and biotechnology, the same philosophy can be applied to archives as well. With a clearly ratified and defined set of precedent to work with, cultural institutions would be freer to make policy changes and repatriation attempts without fear of recrimination. Mathur, pg 5.